By Jan Kott
Polish dramatic and literary critic Jan Kott in a lucid account of Greek drama.
In The consuming of the Gods the celebrated Polish critic Jan Kott reexamines Greek tragedy from the trendy point of view. As in his prior acclaimed Shakespeare Our modern, Kott offers startling insights and intuitive leaps which hyperlink our global to that of the traditional Greeks. The identify refers back to the Bacchae of Euripides, that tragedy of lust, revenge, homicide, and "the pleasure of consuming uncooked flesh" which Kott reveals paradigmatic in its violence and bloodshed.
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Extra resources for The Eating of the Gods: An Interpretation of Greek Tragedy
To have m advert e a h ired l. a. b o r e r gru n t ‘e n o u g h ! ’ ” 20 H period cles continually b eh a ve s like a so ld ier o n bivo u a c. T o d a y is what concerns, w h o is aware what t o m o r r o w will carry; so allow us to devour, drink a nd b e m erry. F o r t u n e is darkish; s h e m o v e s , b u t w e c a n n o t s e e th e w ay n o r can w e pin h e r d o w n via s c ie n c e a n d stu d y her. T h e r e , I h a v e to ld y o u . N o w y o u can u n d e r s t a n d . G o o n , e n j o y y o u rs e lf, drink, name t h e existence y o u reside to d a y y o u r o w n , b ut o n l y that, the remainder b e l o n g s to c h a n c e .
It look s self-destructive. E v e ry th in g in it— the s e q u e n c e o f occasions, the d elin ea tio n o f characters, the d ia lo g u e, the myths e v o okay e d , and a b o v e all of the degree results— is u sed in the sort of method as to m ake a cru el m o c okay e ry o f A lc e s tis ’ resu rrectio n . I f it's a tra g edy, it c o n s u m e s itself. T h e r e are just chances: eith er to r e ga rd Alcestis as a failure, o r to co n s identification e r it as a s h o c ok in g dram a, with an strange d e g r e e o f v e n o m and perfidy.
W h e n h e h esitated fo r a m o m e n t b e c a u s e his okay n o w le d g e s e e m e d to him to o cru el, the C h o r u s in te r j e cts: “ converse, let us know to the en d. F o r victims it really is sw eet to kn o w b e f o r e h a n d essentially the discomfort that also rem ain s fo r t h e m ” (699 ff. ). A n d P r o m e t h e u s w en t o n to c o m p le te his tale o f I o ’s fu tu re torm en ts. Io is, after P r o m e t h e u s , the m ost im p ortan t ch a ra cter within the tra g ed y . T h e e p i so d e with h er o ccu p ie s the cen tral position, a n d “ blin d h o p e ” se em s relatively a p p lic a b le to h e r destiny.
Promenade. 402-5) B e lo w are the p eo p le; a b o v e on the tyrant’s co u rt, within the celestial fort (“ the to w e r in w hich y ou liv e,” nine five 6 ) ,29 e v e r y b o d y is expounded to e v e r y o n e else by way of b lo o d o r m arriage. T h e r e relation ships are h a lf kin, h a lf fe u dal. T h e r e is the king the daddy, his sons and bastards, the princes. O c e a n u s is P r o m e t h e u s ’ spouse's father, H e phaestus his cousin. “ O u r relations sh ip,” he clarify s to M ight, “ has stran ge po w er; that, and o u r lifestyles t o g e t h e r ” (39).
D io g en es : definite; glance right here. O ne in Heaven: one in Hades, that’s you, the phantom: and finally the physique, which by way of this time has again to airborne dirt and dust. T h at makes 3. are you able to imagine o f an excellent father for quantity 3? In th e c o ld p a th o s o f S e n e ca n tra g e d y an d th e sco ffin g in te lle ctu a l ca b a re t o f L u cia n , th e m yth o f H period cle s is fin best friend c o m p le te ly break up. T w o d issim ilar h a lv es rem ain ; tw o d iffe re n t H period cle se s in ste a d o f o n e H e ra c le s w ith tw o faces.